‘Liebe Ist Für Alle Da’ | Rammstein

Few acts are more polarizing than German metal band Rammstein, back with their sixth studio album. Between the outrageous live shows and offensive lyrics, they’ve garnered die-hard fans and more than a few enemies. Staying true to their ethic of doing their own thing—and overdoing it—Rammstein has crafted a work with the same punch as 2000’s “Mutter,” adding more emphasis on melody.

The first track, “Rammlied,” is classic Rammstein through and through. All of the elements are in place: the heavy, menacing guitar work, solid bass and drum lines, and Till Lindemann’s signature vocals, ranging from the hauntingly melodic to a guttural growl. It’s reassuring to note that the group’s formula is still firmly in place and that it has the same impact.

One thing is for certain: They have not matured on their most recent record. The first single is a lyrical atrocity detailing Lindemann’s inability “to get laid in Germany.” Puns and German clichés abound, but the best part (and the secret to enjoying all of Rammstein’s music) is that we’re in on the joke. They know just how outrageous they are and revel in it.

This tongue-in-cheek mentality contrasts with their more serious songs. “Ich Tu Dir Weh” (I Hurt You) is beautiful in its despair, overlaying melody with techno and metal elements in the vein of “Mein Herz Brennt.” There are two full-on ballads on the album: “Frühling in Paris” and “Roter Sand.” Both are very well composed, with much more attention to melody than one typically sees in this genre. Many of the tracks use breaks in the pummeling metal tropes to show off the enhanced songwriting quality. This is one of many indications that Rammstein is not your ordinary shock-rock group.

With “Liebe ist für Alle Da,” Rammstein managed to avoid the pitfalls of a successful group releasing a new album. There are new elements, certainly, and old attributes have been enhanced, but the record is exactly what was expected and desired.